What are the 2 functions of the larynx? To prevent food/water/foreign matter from entering the lungs and to act as a valve that, when closed, prevents air from leaving the lungs and supports the body for lifting things. That is it's primary anatomical purpose. It is also the source of phonation.
The thyroarytenoid muscle has two folds. What does each fold form? The upper set of folds forms the false vocal cords, or the ventricular bands. The lower folds form the vocal folds.
When larynx functions as valve, which folds close? Both sets of folds close.
What 8 characteristics of good vocal sound does McKinney list?
1. freely produced
2. pleasant to listen to
3. loud enough to be heard easily
4. rich, ringing, and resonant
5. energy flows smoothly from note to note
6. consistently produced
7. vibrant, dynamic, and alive
8. flexibly expressive
What 8 negative characteristics does he list?
1. constricted, forced, or strained
2. strident or rasping
3. too loud, resembling shouting or yelling
4. hoarse
5. breathy
6. weak, colorless, or devitalized
7. inconsistently produced
8. shaky or wobbly
What does McKinney have to say about thinking and sound production? "Beautiful sounds start in the mind of a singer. If you cannot think a beautiful sound, it is an accident if you make one."
How does he suggest you develop a mental image of a beautiful sound? Picture it in your minds eye, and hear it in your mind's "ear." You have to listen to a lot of artist singers until you can make connections and draw similarities.
What is the danger in modeling your sound after a single artist? You have a completely different body and voice than the singer you are hearing. You will likely be doing something artificial in order to make yourself sound like them. In addition, they have developed a technique that allows them to demand things from their voice that you might not be able to do safely yet.
Describe the 3 phases of a musical tone. The attack phase (onset) determines much of what follows. A singer needs to prepare mentally before they begin singing physically. Their bodies need to be ready for the sound to come. Think, let, trust! The sustention phase is the time between onset and release. In order to sustain the sound, the voice needs breath support. It should be consistent and energized, and should have direction. Alignment and breath support are critical. The articulators should stay out of the way in the sustention phase. The release phase is instantaneous and precise. The support of the sustention phase must last until the release has happened, otherwise the sound alters before it stops. Anticipating the release can also change the sound. It must be decisive. Ending consonants aid in release, but must be crisp and clean. Stopping the sound by pinching or stopping the air causes tension. Instead, we simply release.
What are the four instructions quoted by McKinney from Van Christy? "The chest never collapses, nor do the shoulders move up and down when singing even the longest phrase...", "That they not attmpt to sing too long phrases on one breath, but always maintain good quality of tone and sufficient breath reserve first, with the long ideal phrase second in importance," "that effecient tone is basic for efficient breath control," and "that under no circumstances should the singer try to 'pull in' the diaphragm or control it's action consciously..."
Summarize the corrective procedures for hypofunctional singing. Teach the student to adduct their vocal folds properly. Humming can be an effective teaching strategy for this. Address posture, breathing, suspension, projection, and internal vocal model. Other handy tricks include having the student hold something up (nothing too heavy, but enough that their arms are supporting the weight of something), ask them to sing like an opera singer, have them say "ho ho ho" or "hey," tell them to sing bright vowels with their teeth closed, or tell them to project as though they are talking to someone in another room. Frontal vowels and nasal consonants also bring more clarity to the voice. Use words like "wing, boom, nee, no, ding, voom, zoom, etc. In young singers, breathiness is normal and we have to be careful not to make them think they need to eliminate it.
Summarize corrective procedures for hyperfunctional singing. Release body tension, help them feel relaxed and confident, establish good posture and breathing habits. Use yawning sensations. Use back vowels. Use consonants that help the jaw release.
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